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CD
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SCR 265CD
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Lorelle Meets The Obsolete's sixth album was recorded at their home studio in Ensenada, Baja California, it was mixed by Jace Lasek of The Besnard Lakes and mastered by Mikey Young of Eddy Current Suppression Ring and Total Control. It's a short, sharp shock of a record with no unnecessary adornments and no fat on any of its eight songs. Gone are the psychedelic wig-outs found on previous releases, replaced with bass-heavy post-punk grooves inspired by the roots of The Congos, the no wave of Ike Yard, the industrial hip-hop of Dälek, and the dark modular moves of Hiro Kone, all while harnessing the elemental power of Jon Hassell's Vernal Equinox. "The 'in the room' feel is one of the things I've always loved about The Besnard Lakes' records," says guitarist Alberto González. "And Jace brought that to Datura. The only note we gave him was 'we want this album to sound big and aggressive'." It worked -- perhaps unsurprisingly for a record that covers cultural colonialism, imperialism, conflicting opinions, intense emotions, strange dreams, and insomnia. The title refers to the genus of plants often associated with ancient rituals that are also sometimes used as poison or hallucinogens. "We liked the idea of a flower that opens at night," says singer and guitarist Lorena Quintanilla. "A type of Datura grows all over the neighborhood where we live. People try to get rid of them because they are afraid of their dogs eating them, but they always regrow again and again in the same places." A bit like Lorelle themselves, then. We last heard from them at the start of 2020, when they had to crowdfund their way home after being stranded on the road in the US as Covid lockdowns came into force. As life returned to normal, they started playing shows again, firstly in Mexico and then, earlier this year, they finished what they started three years ago and toured the US with SUUNS. Now, finally, they are set to flower once again with Datura, their most direct and dynamic album to date; proof that nature really is healing.
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LP
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SCR 265LP
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LP version. Blue vinyl. Lorelle Meets The Obsolete's sixth album was recorded at their home studio in Ensenada, Baja California, it was mixed by Jace Lasek of The Besnard Lakes and mastered by Mikey Young of Eddy Current Suppression Ring and Total Control. It's a short, sharp shock of a record with no unnecessary adornments and no fat on any of its eight songs. Gone are the psychedelic wig-outs found on previous releases, replaced with bass-heavy post-punk grooves inspired by the roots of The Congos, the no wave of Ike Yard, the industrial hip-hop of Dälek, and the dark modular moves of Hiro Kone, all while harnessing the elemental power of Jon Hassell's Vernal Equinox. "The 'in the room' feel is one of the things I've always loved about The Besnard Lakes' records," says guitarist Alberto González. "And Jace brought that to Datura. The only note we gave him was 'we want this album to sound big and aggressive'." It worked -- perhaps unsurprisingly for a record that covers cultural colonialism, imperialism, conflicting opinions, intense emotions, strange dreams, and insomnia. The title refers to the genus of plants often associated with ancient rituals that are also sometimes used as poison or hallucinogens. "We liked the idea of a flower that opens at night," says singer and guitarist Lorena Quintanilla. "A type of Datura grows all over the neighborhood where we live. People try to get rid of them because they are afraid of their dogs eating them, but they always regrow again and again in the same places." A bit like Lorelle themselves, then. We last heard from them at the start of 2020, when they had to crowdfund their way home after being stranded on the road in the US as Covid lockdowns came into force. As life returned to normal, they started playing shows again, firstly in Mexico and then, earlier this year, they finished what they started three years ago and toured the US with SUUNS. Now, finally, they are set to flower once again with Datura, their most direct and dynamic album to date; proof that nature really is healing.
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12"
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SCR 152EP
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Lead track "Fosas Limitadas" is percussion heavy with strident synths and choppy guitars, sounding like a mix of Stereolab and Wire, before bursting into a chorus that sounds like the best Spanish psych-pop single you've never heard. An appropriate analogy as, according to singer/guitarist Lorena Quintanilla, the song (which translates as "limited graves") "talks about the inconsistence of our memories." "I like the rhythm -- the demo made me think of [Survivor's] 'Eye Of The Tiger'," adds guitarist Alberto González, with a laugh. "It's a fun song in a weird way. It sounds like if it was melting..." The other new track, "El Olivo", is a lament for the old house they lived in when they first moved to the city of Ensenada in 2017. "Lorena had a dream about this huge olive tree," explains Alberto. "In the dream, there was golden oil emerging from it and she saw the tree as an infinite source of abundancy and wellness. A year after her dream, we moved to that 100-year old house and turns out there was an old olive tree in the backyard. The tree is now gone along with the house --the greedy owners demolished everything in the property to build a gym or some other elitist business." The EP is rounded out by remixes of two songs from De Facto (2019). CC Crain, aka Cooper Crain from Cave and Bitchin Bajas turns "Lux, Lumina" into a disturbing dub noise, like Broadcast covering PiL's Metal Box, while Pye Corner Audio sets the epic "Unificado" adrift on a sea of analogue synths. Transparent orange and green moon phase vinyl; Edition of 300.
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